Violin mute



July 23, 1929. LONGlARU- I I 1,721,826

VIOLIN MUTE Filed Jan. 13, 1921 lnvntog/ Patented July 23, 1929.

UNITED STATES PATENT OFFICE.

GIOVANNI LONGIARU, OF NEW YORK, N. Y., ASSIGNOR OF ONE-HALF TO EDWIN HOPKINS, OF NEW YORK, N. Y.

VIOLIN MUTE.

Application filed January 13, 1921.

My invention relates principally to mutes for damping the tone of violins and other bow instruments, but it may be readily adapted to use on other musical instruments.

The main purpose of my invention is to provide a mute readily accessible to the player. Heretofore the player has found it necessary to carry the mute in the pocket or place it upon a table, chair or even the floor, and considerable delay is caused in reaching for the mute and afiixing it. It is highly important, especially for the solo player, to be able to adjust the mute quickly.

I find a convenient means of accomplishing the purpose of my invention to lie in attaching the muteto the violin by means of an elastic cord, so that when not in use on the bridge, it remains on the violin within easy reach.

Another purpose of my invention is to afford a quick means of adjustment to the bridge. This is accomplished by having the prongs on the front face shorter than those on the rear face.

In carrying out my invention I find it generally desirable to employ the following apparatus and manufactures, but it is to be understood that in carrying out the objects of my invention, less than all of the different means herein described may be employed for some uses, or parts only may be employed, or other mechanism and manufactures similar may be substituted, and while the preferred forms embodying my invention are shown, it

- is to be understood that many of the structural details may be varied and man changes in details resorted to, without eparting from the scope and spirit of my invention, nor do I limit myself to the particular devices shown, although I believe them especially suited to the ends to be attained by my invention.

In the accompanying drawings, illustrating a form of the inventon, and forming a part hereof, and in which the same reference letters and numerals indicate the same of corresponding parts:

Fig. 1 is a rear elevation of the mute as seen from the tailpiece of the violin when in position:

Fig. 2 is a perpendicular cross section on line A-A of Fig. 1:

Fig. 3 is a front elevation of the mute, showing its position on the bridge when in use:

Serial No. 436,969.

Fig. 4 is a plan of the underside of the mute:

Fig. 5 is a partial plan of a violin, showing the mute in position on the bridge:

Fig. 6 is a partial side elevation of a vlolin, omitting the E and G strings, (the highest and lowest) as seen from the G string side, showin the mute in position on the bridge, and s owing, by dotted lines its position against the tailpiece when not in use.

The mute as shown is integral in one piece, but if desired it may be built up of parts riveted or otherwise fastened together. The material may be wood, horn, bone, ivory, metal, hard rubber, composition or the like.

Cross bar 1 extends across the top and integral with it are prongs 2, 3, 4, 5, 6, and 7. Prongs 2, 3 and 4: make up the rear face and prong 3 has a boss 8 with two apertures 9 and 10, united by groove 11 on the inner surface. The purpose of these apertures and groove is to enable an elastic cord 12 to be threaded to the mute, the groove preventing the abrasion of the elastic cord by the bridge when the mute is put into position.

Prongs 2, 3 and 4 are separated by open channels 13 and 14, running diagonally from the outer lower corners for a suitable distance and then perpendicularly. Prongs 5, 6 and 7 are separated by open channels, 15 and 16, preferably somewhat wider than channels 13 and 14.

Prongs 2, 3 and 4 bear against the rear of bridge 17, and prongs 5, 6 and 7 against the front face of the bridge and nni'intain the mute in position when the violin is being played, by frictional contact in the customary manner. Violin strings 18, 19, 20 and 21, representing respectively strings E, A, D and G are shown on bridge 17 in Figs. 3 and In Fig. 6 strings A and D only are shown. Strings E and G are outside the mute and strings A and D are straddled by the mute.

Elastic cord 12 passes from the mute to and under the tail piece 22 and around the tail piece end pin 23, lying outside the tail piece gut 24. Elastic cord 12 is shown in the drawings as an endless band. This necessitates the removal of the tailpiece when the mute is mounted. This may be avoided b severing the elastic band and tying the en s together when the mute is mounted, if preferred. The method of tying the ends also enables the pull of the elastic cord to be more readily adjusted.

In Fig 6 at 25 the mute is shown in dotted lines in the position occupied when not in use, where it is held by the tension of cord 12. It straddles strings 19 and 20-0n which it partially rests, and thus it cannot be drawn under the tail piece by the elastic band. Resting thus against the tailpiece, it is always in a convenient position when needed and the elastic cord prevents it from rattling or vibrating when the violin is being played. Felt pad 29 on the tailpiece obviates noise when the mute strikes the tailpiece.

When desired tobe used the mute is lifted or slid along the strings 19 and 20 until prongs 2, 3 and 4t strike the bridge, and it then forced down into position as shown at 26 in Fig. 6. When being lifted into position on the bridge shoulders 27 and 28 of the diagonal channels strike strings 19 and 20, preventing the mute from being lifted too high, 'while prongs 5, 6 and 7 are sufficiently shorter than prongs 2, 3 and A to enable them to clear the top of the bridge when shoulders and 28 strike strings 19 and 20. When prongs 2, 3 and 4. come in contact with the bridge and shoulders 27 and 28 are in contact with strings 19 and 20 the mute is in position to be forced down on the bridge. Mutes heretofore have all had prongs of equal length, necessitating close attention when placed on the bridge.

When the mutedpassage is finished by the player, the mute is merely lifted off the bridge and allowed to fly back into position against the tail piece.

The elastic cord is preferably cloth covered, but a spiral spring or other means of producing tension suficient to draw the mute against the tail piece and hold it there may be used.

The metal duralumin is a discovery of value in this invention, since it has lightness andsonorousness not possessed by any other. Silver is too heavy, although sonorous, while aluminum, While light, lacks sonorousness. No other substance than duralumin possesses the requisite properties for the particular purpose in view.

.l/Vhat I claim is 1. A violin mute having bridge engaging front and rear faces; such front face comprising three tines, a central tine and an out er tine on each side thereof, such tines separated by parallel channels, whereby to adapt such central'tine to occupy space between the A and D strings of the violin; such rear face comprising three tines, separated in their upper portion by similar parallel channels, a central tine and an outer tine on each side thereof; such central tine and outer tines-being longer than such front tines, such central tine flaring outwardly towards the sides beginning at a point about even with the ends of the front tines, and such rear outer tines flaring away from such central tine, such channels between them accordingly diverging, wherebyto impede the withdrawal of such mute from such violin by contact of such central rear prongs flaring portion with the A and D strings of the violin, and means for retaining such mute on such violin when not in use on the violin bridge.

2. A violin mute of the class described having plurality of bridge engaging. prongs in two sets, a front set and a rear set; such front set of prongs having a central prong adapted to occupy space between the A and D strings of the violins; such rear set considerably longer than such front set; such rear set having a central prong, such central prong flared outwardly towards the end on each side; such adjoining prongs similarly flared away from such flared portion of such central prong, the bottom of such central prong accordingly wider than the upper portion; and a resilient connection bet-ween such central rear prong and the violin whereby to retain such mute against the tailpiece of the violin when not in use on the bridge.

3. A violin mute comprising ,a beam or cross portion, three front prongs, three rear prongs, longer than the front prongs, channels between the front prongs, and channels between the rear prongs diverging outwardly at the bottom. l

4. The mute set forth in claim 3 when fitted with means at the rear for connection with a resilient anchor chord, and a resilient anchor chord adapted to connect said mute withthe violin, whereby to retain said mute on said violin when not in operative position onthe bridge.

5. The mute set forth in claim 3 when the central rear prong is pierced by two apertures, and said rear central prong is grooved on the inner side between said apertures, whereby to carry a resilient anchor chord, and said resilientanchor chord.

GIOVANNI LO NGIARU. 

